Workshop Theatre Premieres Contemporary Musical Memoir Hundred Days Directed by Chad Henderson

“It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now.”

- Chad Henderson

Hundred Days is a musical memoir based on a true story that premiered for the first time in 2018. This fresh, contemporary take on the goal of loving and living fully is coming tomorrow to Workshop Theatre. Running from May 12 – May 27, the show is directed by Chad Henderson with music direction by Tom Beard and a cast that features Katie Leitner, Catherine Hunsinger, Taylor Diveley, Kari Lebby, and Patty Boggs. 

The show has been described as “luminous,” “exhilarating,” and “raw,” and Leitner herself asserts that “people can expect to be immersed in a multi-media, emotionally gut-wrenching story accompanied by powerful folk- blues ballads, dense and haunting harmonies, uplifting folk pop toe-tappers, and clap-along rock tunes.” 

Jasper sat down one-on-one with director Henderson to get more details on the show.

JASPER: How did you decide to direct this show? 

HENDERSON: This show has been a three-year journey for me. My friend and collaborator Jonathan Whitton sent me an email about this play with a message that read something like "You need to know about this. You're welcome." He was right. It is entirely the type of work I seek and savor. I kept my eyes on the licensing for the show, because in this market you are at the whims of the licensing companies. This was all before the closures of the pandemic. Fast-forward some time later, and Workshop Theatre took my submission seriously. They were willing to produce a "little musical that would be one of the hardest things to achieve." I'm so glad that Jeni McCaughan and the script selection committee committed to this production—they have been absolutely amazing to work with.

JASPER: What makes you excited about this musical, specifically? 

HENDERSON: Honestly, this is the kind of work that I gravitate towards, having spent four years in a rock band and being a lover of live music. I have directed theatrical works like "Hedwig and the Angry Inch," "Spring Awakening," "Passing Strange" and "American Idiot." These all have a special place in my heart because they closely align with my personal aesthetic and have an impactful connection to the type of storytelling that moves me as an artist.

JASPER: Why this story here? Why now? 

HENDERSON: It's Columbia. We are better served by seeing something for the first time rather than a variation on what we've seen before. We've all seen that. We need new, we deserve it. We deserve the newest things now. Also, love is timeless—and that is still (somehow) a revolutionary thing to explore presently.

JASPER: How long have y’all been working on this?

HENDERSON: I've been working on this for three years now in my mind. I've been dreaming of a local cast for that long as well. I'm very lucky that two of the original people I dreamed of are working on this production (Katie Leitner and Catherine Hunsinger). Even luckier to have one of my favorite collaborators, Tom Beard, reach out to me to ask, "what are we doing next." Then after a string of auditions and conversations we found the remaining alchemy that this production needed: Taylor Diveley, Kari Lebby and Patty Boggs.

JASPER: Have there been any unique challenges in this show? 

HENDERSON: Once the casting was complete, the challenge fell to the actors. They have to be a band. They have to create that synergy. They also have to be open to the unknown due to the fact that the show is a live set from a band, and the story that arises from their performance must be a sneak attack.

JASPER: What’s special about your rendition? 

HENDERSON: I'm me and this is me doing what I love to do: make it as hard as possible for everyone. So, while the cast is rehearsing tirelessly to become a band with 90 minutes of music and banter to memorize—while also being able to live truthfully in the moment—we have added a film element to the production. We spent three weekends filming auxiliary storytelling that is presented through on-stage media.

JASPER: Have there been any exciting “oh my god this is it” moments? 

HENDERSON: I've had many "Oh My God" moments. They've happened at every rehearsal, which is a testament to this cast. Damn, they're good!

JASPER: The music in this show is described as “anthemic folk-punk music” — what can a not music-savvy person expect?  

HENDERSON: If you have heard the works of Mumford and Sons, Ani DiFranco, Frou Frou, Queen, Jump Little Children, Son Volt, or anything else that sounds totally relatable but also entirely singular—that's what it sounds like. The music lifts your heart because the compositions have that effect. It's also very Americana. There's no banjo or mandolin, but plenty of cello and accordion. It also doesn't sound French. I don't know...the music is singular. It's the Bengsons [group who originally created and performed the show]. Just come hear for yourself or get a taste on Spotify or Apple Music.

JASPER: How would you summarize this story in your own words? 

HENDERSON: It's about love (cue memories of Christian in Moulin Rouge). It's about the rewards, challenges, magnetisms, insanities, and fears of love. It's about the weight of commitment: the work that comes with it, but ultimately the joys.

JASPER: Why should people see this show?  

HENDERSON: Simply put: It's one of the few contemporary shows you can experience in the coming months. To call it a musical is misleading. You're coming to see a band. A very good band. It just so happens they are going to make you relate to their crazy story in 90 mins flat. Also, the bar is open throughout the show because...that's just civil, isn't it? It's a show and space where you'll be comfortable, and you'll leave with plenty to talk about. You might even kiss somebody (if they consent).

It’s hard to describe what to expect, but in attending Hundred Days, you are guaranteed a once-in-a-lifetime story. You’ll laugh, you’ll cry, you’ll groove. For more details about and to get tickets, visit Workshop Theatre’s website.

REVIEW: Torch Song at Workshop Theatre

Torch Song began its evolution as three one-act plays, the first of which, International Stud,  opened off-off-Broadway way back in 1978. It was followed by Fugue in a Nursery the next year and finished with Widows and Children First. The three were combined into Torch Song Trilogy which made its Broadway debut in 1982. Harvey Fierstein’s groundbreaking piece took home the Tony for Best Play in 1983.  In his acceptance speech, Producer John Glines openly acknowledged his lover and the show’s co-producer, Lawrence Lane. This, kiddoes, had never been done before.  

Join me and Mr. Peabody in the Wayback Machine. (IYKYK)  It’s the late 70’s and early 80’s. AIDS has just started to ravage the gay community, aided and abetted by the nonchalance of the straight community. (Thanks, Ron & Nancy. I digress.) We’re just over a decade past Stonewall. In this environment Harvey Fierstein spins the (largely autobiographical) story of one Arnold Beckoff. He addresses issues such as gay marriage and adoption, which were unheard of 40 years ago.  Look how far we’ve come…(hold that thought) 

In Workshop Theatre’s production, Arnold is played lovingly and endearingly by Julian Deleon.  The show opens with Arnold in his dressing room at International Stud, transforming himself into Virginia Ham. (Pay attention to the list of drag names with which he peppers his opening monologue. You. Will. Love.)  Deleon’s delivery of this exercise in self-analysis is fast and furious and funny, and absolutely spot-on. It would be so easy to turn Arnold into a caricature. This piece was, after all, written by and originally starring Harvie Fierstein. DeLeon never steps over that line.  His Arnold is maddening, infuriatingly needy, manic, frustrating, and utterly and completely loveable and heartbreaking.  

Arnold meets one Ed Reiss up in da clurb. Ed is a charming fellow, a school teacher who must be circumspect in all things, as we are not yet a “woke” world. Arnold falls head over heels in love with Ed, because of course he would. Because a Torch Song by definition cannot have a happy ending.  

Ed is set up on a blind date with the lovely and hapless Laurel and falls head over heels into the easy out, which is to marry the straight girl of his parents’ dreams. Ed and Arnold remain “friends.” At Laurel’s invitation, Arnold visits the lovebirds at their farm in upstate New York and brings along his new love, Alan. Interesting conversations ensue.  

Enter Mother. Dear, strict, conventional, conservative Jewish Mother. Hurtful, passive-aggressive, put upon Mother. Debra Haines Kiser plays this role with such conviction and passion. When she makes one jab too many and Arnold can take no more…. I thought I’d accidentally wandered into George and Martha’s study. Kiser and Deleon work beautifully off each other. Their scenes snap, one line on top of another, until we are all exhausted.   

Crouch has assembled a good, solid cast. Brady Davis plays David, Arnold’s soon-to-be-adopted son. His David is such a 15-year-old gay boy – sassy, bitchy, rebellious, outspoken, and very loving. (Can we do something about poor David’s suit? He’s about to be adopted by a drag queen with mad sewing skills. Arnold would not have allowed him to leave the house in a suit two sizes too big.)   

I wish Marshall Spann’s Ed had been more… energetic? Ed is supposedly so charming that both gay men and straight women cannot resist him. I wanted to see more of that charm.  

Beth DeHart’s Laurel is enigmatic. She vows to have fallen in love with Ed and has come to terms with his bisexuality, but has she?  Arnold and Alan visit the farm on her invitation, not Ed’s. To what purpose? Is she proving herself to herself? Is she testing Ed’s dedication to being straight? Is she deliberately taunting Arnold? There is no incorrect answer.  

Taylor Diveley creates a perfectly adorable Alan with whom Arnold cannot help but fall in love.  He’s a smart, gorgeous cocker spaniel puppy. You want them to be together forever and ever and ever. (This is a Torch Song) 

Set, costumes, and music come together nicely.  (Please make a mix-tape of the show’s music and sell it in the lobby). I tried to figure out a way to sneak the kitchen table and chairs out of Arnold’s Act 3 apartment but wasn’t able to make it work.  

I shall now pick a nit. Please. Please. Please. When food and drink are mentioned in a script, have food and drink onstage.  It isn’t that difficult to whip up a pot of instant mashed potatoes to put on plates and have water/tea/coffee in a pitcher or kettle to pour into cups. After all  the tremendous care and effort put into a production, it’s annoying to see actors trying to block the fact that they are serving imaginary food.  

Fierstein has written, and Jerry Crouch has lovingly directed a show about what we all ultimately want - to be loved and respected for who we are.   

Torch Song runs through January 29.

REVIEW: Kinky Boots at Workshop Theatre

Originally a smash Broadway hit, Kinky Boots is a musical about two people finding common ground in an unusual way: through shoes. With the book by Harvey Fierstein, Kinky Boots is the story of two seemingly different individuals who discover that they have more similarities than differences. Charlie Price (Taylor Diveley) inherits the family’s shoe factory just as he is attempting to start his life elsewhere. Unfortunately, the factory is bankrupt and may close. A chance encounter with Lola (Lamont Gleaton), a drag queen and cabaret performer, leads to an unconventional solution to save the business.

Jocelyn Sanders has done an admirable job of pulling together a talented cast of performers for a fun evening of theatre. As the leads, Diveley and Gleaton balance each other nicely and then shine beautifully during solo numbers. Gleaton dazzles as the outwardly confident Lola, taking the stage by storm with a larger-than-life persona and performance. At other times, Gleaton easily reaches the introspection necessary to convey the depth of Lola’s sometimes painful journey to true self-understanding. Diveley takes some of the same opportunities, as he energetically leads his factory workers to believe in the dream of success and then anguishes over his own shortcomings.

The supporting characters and cast play beautifully in the background of Charlie and Lola’s story without pulling focus away from those characters’ journey. Evident in their body language, the factory workers are initially tired and demoralized, anxious about what is around the corner. After Lola enters the scene, the factory comes alive with energy. Jessica Roth (Lauren) presents a nicely nuanced performance, a tad daffy when required and thoughtful and kind in other important moments.

Lola’s Angels do exactly what they’re supposed to do. They bring fun and energy to the stage through their marvelous dancing and sassy personalities. Mandy Applegate’s overall choreography is fun and sexy and gives all performers a chance to shine.

The live band is terrific, led by Chrystine McClellan, who is also the Music Director. McClellan has taken a group of varied performers and created not only a lovely ensemble performance but also has led individual performers to shine where their talents lie. The only sound drawback is that at times, it is difficult to hear certain dialogue and portions of songs.

When you first arrive, you find yourself looking at the exterior of Price and Son, the factory which Charlie inherits. During the opening number, the building opens to reveal an aging industrial space in which most of the action takes place. Both the set and light design are by Patrick Faulds, and both beautifully deliver an important underlying aspect of the show. The lighting seamlessly moves with the performers, capturing them as they move to different levels and areas of the stage, which is a credit to the design and designer. As the locations change, Faulds has designed clever movable set pieces, practically moved by cast members in character, adding to the overall success of the design.

The costumes, designed by Andie Nicks, also play a nice supporting role, and then step to the front to take a bow when appropriate. Nicks has chosen a basic monochromatic theme for most of the clothing of the factory workers, leaving it to Lola and the Angels to dazzle the eyes. The varied costumes sported by the Angels bring real life to their personalities, and Lola’s outfits . . . . Well, let’s just say “fabulous” is insufficient.

Kinky Boots runs about two and a half hours, with one fifteen-minute intermission. It runs through October 8 at Cottingham Theatre on the campus of Columbia College.

REVIEW: Columbia Children's Theatre presents The Commedia Hansel and Gretel by Melissa Swick Ellington

Columbia Children’s Theatre presents a delightful summer treat with The Commedia Hansel and Gretel. Following numerous other commedia summer shows produced by CCT, Hansel and Gretel benefits from the collaborative nature of the Italian theatre tradition commedia dell’arte. Innovative director Jerry Stephenson aptly describes the entertaining characters as “beloved, rag-tag, fame-hungry players,” and audiences of all ages will enjoy their mischief.

The “Spaghetti and Meatball Players” include five commedia characters (Columbine, Pantalone, Arlequino, Punchin, and Rosetta) who take on multiple roles within the story. As Columbine, Mary Miles becomes an amusing Gretel, tap-dancing and pouting her way through the forest. Paul Lindley II’s Arlequino plays her long-suffering brother Hansel with charm and verve. The fairy tale siblings achieve effective rapport with the young audience through interaction that feels both genuine and satisfyingly silly. In the role of Punchin, Baker Morrison delivers a hilarious performance as two iconic stars of Food Network fame, while Noah Barker’s Pantalone succeeds as the humorously incompetent fairy tale father and other roles. As Rosetta, Kaitlyn Fuller does double duty as stepmother and witch; she skillfully creates distinctly memorable characters who menace Hansel and Gretel with flair. (At certain performances, alternate actors will play the following roles: George Dinsmore as Pantalone, Taylor Diveley as Arlequino, Julian Deleon as Punchin, and Frances Farrar as Rosetta.)

As audiences have come to anticipate, CCT puts forth first class production quality. Vibrant flag banners liven up the stage, which features a useful proscenium for backdrop changes in Patrick Faulds’ attractive set. Jim Litzinger’s lighting and sound design choices work beautifully to support the production, and Stevenson and Donna Harvey score a big win in the costume department with colorful creations that highlight appealing use of shape and texture. Company/stage manager Candice Fuller keeps everything on track in what must be a riotous backstage experience.

This high energy performance successfully combines popular culture and entertainment with classic fairy tale conventions. While some of the comical references will not be familiar to young children, there are plenty of jokes that make sense to the littlest audience members as the older crew snickers over references to the Kardashians, Paula Deen, and Lin-Manuel Miranda, among many more. The engaging actors capitalize on the improvisational aspect of the commedia tradition as they incorporate audience responses with quick-witted confidence. As the latest installment from the Spaghetti and Meatball Players, Hansel and Gretel is a welcome addition to the clever commedia tradition at Columbia Children’s Theatre.

Performances of The Commedia Hansel & Gretel at the Columbia Children’s Theatre will run through June 19 (Saturday at 10:30 a.m., 2:00 p.m., and 7:00 p.m.; and Sunday at 3:00 p.m.). Ticket prices are $10 for children three years old through adult, $8 for seniors and active duty military, and $5 for all tickets on Saturdays at 7:00 pm only. Tickets may be purchased from the box office (803-691-4548) or online at www.columbiachildrenstheatre.com.

-- Melissa Swick Ellington

Choreographer Christy Shealy Mills talks about "Hello Dolly," opening in Blythewood April 2nd

Columbia is undeniably a theatre town, and it's no longer limited to the downtown area.  Every few years, theatre enthusiasts in the Midlands see a need and an opportunity, and another group is born. Lexington, Chapin, West Columbia and Forest Acres are all home to thriving performance groups, and now Blythewood joins the mix.  Choreographer Christy Shealy Mills took a moment to talk with Jasper about the upcoming production of Hello Dolly, the debut presentation of the Blythewood Community Theatre.

Jasper:  How did this group get its start?

Mills:  The folks in Blythewood have wanted to get their own theatre group going for years, and finally found someone willing to take a stab at directing, Rachel Tefft.   Out of the forty something cast members, about 1/3 of them have taken part in previous Midlands area productions. The rest are all newcomers. This new local theatre group will draw in people who might not otherwise get involved in such offerings.

Jasper:  You're actually commuting to choreograph this show, right?  How did you become involved?

Mills:  I live in Prosperity in the corner of Saluda County and have three dance studios, in  Lexington, Batesburg, and the one in my backyard, as well as satellite classes at Town Theatre in Columbia.  I am not sure how I became involved with Blythewood, other than the director , Rachel Tefft , whom I had never met, called me back in November and asked me , and said I was highly recommended.  I don't know where that came from, but the flattery worked.  She wasn't even sure which of three shows they were going to do, but I knew something about Hello, Dolly and was familiar with most of the music, and hoped it would be this one. I didn't know at the time just how much choreography that would be - it's a good thing I like challenges.

Jasper:  Have you always been a dancer and teacher?

Mills:   I have been dancing since I started classes at the age of three. My first ever performance,  I did the entire routine with my back to the audience. I don't remember ever NOT wanting to do this as a career. As a matter of fact, I do remember as a high school freshman taking a career aptitude test, and complaining to my parents at dinner that night that there was no career choice of dance instructor mentioned. My dad, looking quite horrified, said "a DANCE TEACHER? Why would you want to be a dance teacher? Dance teachers are kind of...tacky."  That cemented my career choice, and I have been trying to live up to that opinion ever since.

Jasper:  Which groups have you been involved with locally?

Mills:  I first become involved in community theatre with George Boozer's fabulous Lexington Arts Association revues starting about 1972 or '73.  That was REALLY community theatre. This Blythewood group  reminds me of those fun productions - all these rookies not having a clue what they are getting into, and just how much that theatre bug is biting them with each and every passing day. It was the same way in Lexington. Those huge musical revues caused me to make friends and memories that will last a lifetime.  Plus, I learned about theatre, and increased my dance, music and even history knowledge. Once I had the first of my four children, I stopped doing theatre until 2010, when I was blessed to be a part of Town Theatre's Annie.

I did choreograph some full length musicals for Lexington High School during the baby years, and have done lots of pageant choreography. And, of course, I have been teaching dance since I was 14.  I choreographed Gilligan's Island - the Musical and portions of Nunsense Jamboree for On Stage Productions, but the first full length show I choreographed was Dirty Rotten Scoundrels at Town Theatre. It was quite an undertaking, but Scott Blanks was such fun to work with - a creative genius. Now that I think about, all the the directors I have worked with have that genius touch. I guess that is why they are directors, huh?

Jasper:   Hello Dolly certainly has a rich history, based on Thornton Wilder's hit comedy The Matchmaker, based in turn on an older Austrian work, based on an older English story, but this is the most famous version, and the one with all the familiar songs.  Why this particular musical?

Mills:    The reason this was the choice (of the three possible shows  that were being considered) was the casting - after the great turn-out at auditions, Rachel could see that she had the right leads for Hello, Dolly, so that did it. It is huge undertaking.  I was a little worried, because there is no canned music, so working with live musicians introduces a whole new element to the works. I love live music, and it never ceases to amaze me how musicians who have never played together before can come in a week before the show opens and make it happen.  We have been sort of feeling our way as we go with this first show.

Jasper:  Hello, Dolly was a huge success when it first debuted, winning a record-setting 10 Tony Awards (including best musical, best score and best book) and running for over 28oo performances, another record at the time; its movie version won three three of the seven Oscars for which it was nominated.   There have been a number of successful revivals on Broadway since then - why do you think the play still resonates with contemporary audiences?

Mills:   It's just a fun, colorful, lively trip into yesteryear - a delight for the ears and eyes.  The music its timeless.  “It Only Takes a Moment" - a song about love at first sight - is lovely and rings true no matter the era. The tunes will have the audience tapping their toes and humming on the way home. I know these songs have been in my head for months.

Jasper:  Tell us about your cast, and where we might have seen them before.

Mills:  Kathy Seppamaki-Milliron (Dirty Rotten Scoundrels at Town Theatre, Legally Blonde at Workshop) plays Dolly Levi.   Emily Clelland (Chicago at the  Kershaw Fine Arts Center) and Zanna Mills (Shere Khan in The Jungle Book at Town Theatre)  alternate as Ermengard.  Rachel Arling (Annie at Town Theatre) plays Minnie Fay. William Ellis (Albert in Bye Bye Birdie at Westwood High) plays Barnaby. Annie Laurie Sutton-Rumfelt (Annie  and Joseph... at Town Theatre) plays the most spirited Ernestina there could possibly be.  Taylor Diveley plays Ambrose and has appeared in several Columbia Children's Theatre shows.   Dan Reyes (Horace Vandergelder), Sara Bailey (Mrs. Malloy), Nicholas Sargent (Cornelius) and Eric Bothur (Rudolf) are all newcomers.

Jasper:  What are some challenges you have faced as choreographer?

Mills:   I had never actually seen Hello, Dolly, so when people kept referring to the "waiter's dance," I thought they were talking about the big "Hello, Dolly" song.  I am a one-day-at-a-time kind of person, and was just working on the routines when the director told me to.   So when I finally noticed in the score the music for “Waiter's Gallop" - the one with no lyrics - I thought that was just an interlude piece for the band.  I can't quite remember how I came to realize that it was actually an eight minute dance routine for only the waiters!  I probably went into shock and have blocked that moment from my memory. But my spirited twelve dancing waiters have been motivational for me. In hindsight, I should have started that routine first instead of last, but it has come together and hopefully will entertain the audience. I don't want to give away all our secrets, but let's just say there's tap dancing , baton twirling, juggling, some upside down antics, perhaps some unicycling ( still trying to get the unicycle functional) and some hoochie-coo.  I thought the other challenge would be getting the entire cast to waltz, but they are such troupers, it was a piece of cake. All fun stuff, and I am going to miss this group come April 6 (the last performance.)

Blythewood Community Theatre's production of Hello, Dolly runs Wed. April 2 through Sunday April 6 at Westwood  High School.  Tickets can be purchased online at www.brownpapertickets.com or at the door.

~ August Krickel